Yianni Warnock on Finding Comfort in the Uncomfortable
Signed to MOFA in 2022, Australian writer and director Yianni Warnock has made his mark on the industry by tapping into situational comedy in ironic and relatable ways. Across his body of work - which includes a series of short films and numerous major brand campaigns - the filmmaker has found home in the middle ground between the awkwardness and the absurd.
With a clear predilection for the darkly comedic undercurrents of everyday life, Yianni has poured his heart and soul into short films like ‘Happy with Bear’ and ‘The Despair Trilogy’, passion projects that cast a bleak but sympathetic light on the struggles of the modern human experience. Both ‘Happy with Bear’ and ‘Homebodies’ - the final film of The Despair Trilogy - had their international debut at SXSW, and since then, Yianni has become known for skillfully entrapping audiences in second hand embarrassment.
In his commercial work, Yianni’s dark humour tends to take on a lighter temper, successfully channelling undeniably relatable and paradoxical subjects. Described by MOFA founder Llew Griffiths as “an accomplished writer and experienced character director”, the filmmaker’s creative canon illustrates his ability to dream up absurd interpretations of life’s most ordinary experience – the resulting pay-off is tragicomedy at its finest.
In this interview, LBB’s April Summers asks Yianni Warnock to walk her through his most notable projects, as he touches on the aspects of filmmaking he finds most rewarding.
LBB> How would you summarise your signature style?
Yianni> Finding moments of truth in seemingly absurd situations. Or finding moments of absurdity in the mundane.
LBB> Is there a specific time or place that you find inspiration most likely to strike?
Yianni> Could be anywhere. It often comes when driving though, strangely, as I’m taking in the passing parade of people and places.
LBB> Why do you do what you do? What aspect of filmmaking are you most passionate about?
Yianni> Dreaming up an idea and seeing that project come to fruition is a great feeling. Writing can be euphoric as can editing, and being on set can be exhilarating, so I’d say each has small moments of pleasure and bliss.
LBB> With that in mind, why did MOFA feel like the right fit for you?
Yianni> They care about their directors and are big picture oriented. They are also just great collaborators and people.
LBB> What sort of projects do you tend to gravitate towards?
Yianni> Something that is truthful but not saccharine. Ideally something that has a good visual element and a central idea that is simple and easily translatable to film.
LBB> Let’s talk about your short film series, The Despair Trilogy. Each film makes for extremely uncomfortable viewing but, as a director, the ability to evoke such a strong reaction from viewers is a superpower in itself – so congrats! What was the inspiration for the series? Was it always intended to be a trilogy?
Yianni> It wasn’t meant to be a trilogy. I met the lead actor, Shane Gardiner, and we decided to do one short. Then we did another and honestly I felt uneasy just having two so we made a third. Having an uneven number felt good to me.
LBB> Homebodies, the final instalment of the trilogy, premiered at SXSW in 2016. What were your initial ideas for this film and how closely do they resemble the finished product?
Yianni> The idea actually came from two separate stories I heard. It was then pieced together to create a story about a couple with a slight communication problem. It is a modern day suburban slapstick comedy/tragedy. I’m too insecure to make a straight drama as I would be afraid of boring people, so I always try to put a few laughs in to avoid having a dead silent cinema experience at festivals. Of all the films [in The Despair Trilogy] I would say this one was closest to the feeling I envisioned. However, it’s always nice when ideas appear that you don’t envision – I’d argue this is the best part of the process.
LBB> Which commercial projects stand out as the most rewarding? And why?
Yianni> I couldn’t pick just one project. It’s about the little moments you are always trying to get right which exemplify the small successes and failures, and this is what makes me super hungry to do more.
LBB> How do you approach creating a treatment for a spot?
Yianni> With much pain and frustration! It’s usually a process of elimination and simplification, which can come late in the process whilst one is running towards the imminent treatment deadline date. Trying to find the root of the idea and extracting that into clear film language, working with great people to help translate it succinctly into a document.
LBB> In your opinion, what is the most important relationship for a director to have with another person when making an ad?
Yianni> It’s good to have a great crew at your disposal who care about your vision and want to elevate every element of a project. Building great relationships with agencies is also a priceless relationship for creating better work. Having trust and a shorthand is invaluable.
LBB> Your ‘Infinite Cultural Exile’ film for the MLA (Meat & Livestock Australia) campaign is a very clever take on national identity. What was the brief?
Yianni> The brief was very succinct and clear and the idea felt very familiar. It was all about this iconic Australian word: ‘Un-Australian’. The challenge was not making it too loaded and giving it a sense of inclusivity. I didn’t want the idea to feel like it was targeting someone specifically, but it also needed to feel broad enough that everyone could project their own meaning onto it.
LBB> In what ways have you seen the Australian industry develop over the past few years?
Yianni> I don’t know if it’s an objective development but there seems to be a growing hunger for people to create interesting independent projects, and a thirst to tell good stories.
LBB> What makes you most proud to be an Aussie filmmaker?
Yianni> I’ve never thought of myself as an Aussie filmmaker or had pride in that. We have made some great films throughout the years though and I do appreciate that it’s probably a lot easier to make a film here and earn a living off film so I’m very grateful for that.
LBB> If you had to describe a dream project, your ultimate creative pinnacle, what would it be?
Yianni> A live action version of Pinocchio.
LBB> Are you working on anything exciting in 2023 you can tell us about?
Yianni> Some great commercial treatments are coming in which excites me. I also have a feature film that I’m forever trying to get up but I have made it a rule to stop talking about it as it’s a jinx. It will happen when it happens…
